Antonius Höckelmann. Drawings

12 January – 2 March 2013

The exhibition will open on Friday 11 January 2013 with an introductory discussion led by Dr Jutta Voorhoeve at 6:30 pm

The Michael Werner Kunsthandel will be presenting drawings by Antonius Höckelmann (1937-2000) as from 12 January. One of the artist’s first one-man shows was organized by Michael Werner in Berlin in 1966. His work was also exhibited at the documenta 6 (1977) and documenta 8 (1985), and there have been important institutional exhibitions at the Kunsthalle Bern (1975), the Kunstverein für die Rheinlande und Westfalen (1985) and the Hamburger Kunstverein (1986). The current exhibition of over 90 drawings provides an overview of Höckelmann’s work from the late 1960’s to the 1980’s.

          “Drawing reveals the full reality of sculpture and allows the
          observer to feel the movement within sculptural forms
          rather than staring at the external surface of a
         sculpture, or feeling overwhelmed by its monstrous quality.”
               (Antonius Höckelmann in Kunstforum International 1974, Vol. 10)

After completing training as a sculptor in wood in 1957, Antonius Höckelmann studied until 1961 in the Berlin University of Fine Arts (Hochschule für Bildende Kunst) under Professor Karl Hartung. At the beginning of the 1960’s he created sculptures often associated with organic forms and reminiscent of the growth of roots, bulbs and cartilage. His intention, however, was not to imitate nature. His drawings reveal the parallel contours of his own experience. They are not sketches in the traditional sense, but represent a new and specific research into the world of form based on his work with maquettes. From the outset, his sculptural and graphic work developed hand in hand.
In the main, Höckelmann worked on thematic series, which he developed and researched with almost obsessive tenacity. One section of the exhibition deals with the theme of legal disputes, based on the alleged nightly disturbance caused to his neighbours by his young son. Sketches from the courtroom, quotations from legal documents and the presentation of evidence all form part of what is sometimes a confusing tableau. Despite the aspect of absurdity inherent in the topic, Höckelmann avoids the danger of distancing himself through irony. Indeed, the subject matter itself is never the main concern of his work which defies a rational interpretation and is principally motivated by a ceasless reflection on the process of representation and creation. He clearly revels in the composition, juxtoposition and interpenetration of forms in his search for the underlying principles of „a sculptural cosmos in graphic form“(Theo Kneubühler).